10 Questions

10 Questions – Dr Louise Devoy, senior curator at the Royal Observatory Greenwich…

by exploringlondon

Exploring London spoke to Dr Louise Devoy about her role at the observatory, her new book, Royal Observatory Greenwich: A History in Objects, and her “must-see” for those visiting the observatory…

Dr Louise Devoy, senior curator at the Royal Observatory Greenwich. PICTURE: Courtesy of the Royal Observatory Greenwich

How long have you worked as senior curator at the Royal Observatory Greenwich and what was your pathway into the job?
“I’ve been working here for 12 years now and it’s been quite a journey! I originally studied physics with astrophysics at the University of Leicester and intended to continue with scientific research but my ideas changed after an inspirational internship working at a museum in the US. I really enjoyed learning about the history of astronomy – how our ideas have changed over time and the incredible stories of the people who were involved – and I continued my studies in the history of science. I’ve since worked at the Science Museum and British Museum and came here in 2013.”

Have you always been interested in astronomy?
“Yes, I have vivid memories of building a space rocket in primary school from cereal packets and yogurt pots that quite literally fired my imagination! I’ve still got The Night Sky Ladybird book that I bought and later in my teens my parents kindly bought me a telescope so I could learn more about practical astronomy. I don’t have much time for stargazing these days but I’ve recently purchased a compact smart telescope that you can put in your hand luggage and I’m looking forward to taking it on my travels.”

What does your job at the Royal Observatory entail?
“My job consists of two main parts; one based on research and one focused on communication. As a curator, I’m responsible for doing research on our collections, identifying objects for display and collaborating with researchers from other museums and observatories. Once I’ve done the detective work, I like to share these ideas and stories with our visitors through displays, talks and writing books and articles.”

Royal Observatory Greenwich: A History in Objects is published on 16th October. To purchase head to the Royal Observatory Greenwich shop by clicking here.

What’s your favourite part of the day at the Observatory?
“For me, I enjoy seeing the sunset as I’m leaving the office, especially as the lights start to come on across London and you get a great view of the city from our hilltop location. It also makes me smile that sunset means going home for me, whereas for Greenwich astronomers in the past, it would have been the start of their working ‘day’!”

What prompted the writing of the book?
“It’s difficult to say but I definitely remember working on this during lockdown in 2020 and being inspired by similar books such as Neil MacGregor’s A History of the World in 100 Objects. Most books about the history of the Royal Observatory focus on the story of longitude, John Harrison’s marine timekeepers and Greenwich Mean Time (GMT) but I wanted to show how the Observatory has a much broader, richer history that encompasses many more people, subjects, stories and objects.

How did you decide which objects to feature in the book?
“I knew that we would be celebrating our 350th anniversary in 2025 and so I decided to choose objects that spanned the full chronology from 1675. I also wanted to expand the scope beyond the well-known clocks and telescopes to include books, paintings, manuscripts, watercolours, and even items of clothing previously worn by the Astronomer Royal and his family. In addition, I selected a few mystery objects to give me a good excuse to dig into the archives and piece together their stories.”

Do you have a favourite among them?
“I really like the story of the hole punch from the 1840s because it’s indicative of the paperwork and number-crunching that is an important but often overlooked aspect of astronomy. Once astronomers have done their observations, they have to apply mathematical corrections (‘reductions’) to account for atmospheric effects that might affect the results. It’s very tedious, repetitive work that was traditionally done by teenage boys known as ‘computers’. The seventh Astronomer Royal, George Biddell Airy (1801–1892) tried to make the process more efficient and less prone to errors by creating a template known as a ‘skeleton form’. The system worked well but generated vast amounts of paper, leading Airy to design a hole punch to organise the work. He was so proud of his idea that he encouraged other observatories to do the same and that’s why you’ll find another example of this hole punch over 8,000 miles away at the South African Astronomical Observatory in Cape Town. Airy invented his hole punch several decades before the standard office hole punch was patented, making our gadget one of the oldest in the world!”

What did you learn during the process of writing the book that you didn’t already know about the history of the Royal Observatory?
“The story of the secret binocular testing during the First World War really surprised me. The Observatory had already been involved in testing chronometers – portable, accurate timekeepers for navigation at sea – since the 1820s but the binocular testing was a new task. For security reasons, it was not mentioned in the Observatory’s Annual Reports and remained an unknown story for decades. I was intrigued by a one-line mention to it in the archives and dug a little further to uncover the full facts.”

Subscribe for just £3 a month to see all of Exploring London’s content – including the answers to the final two questions…

Subscribe

10 Questions – John Brodie Donald, Lost London Churches Project…

by exploringlondon

John Brodie Donald, the creator of the Lost London Churches Project, talks about how the project came about, its aim and his personal favourite “lost” church…

1. First up, when you talk about London’s “lost churches”, what do you mean by the expression?
“Of the 108 churches in the City of London in 1600 only 39 remain. The rest have been lost in the last 350 years, either destroyed in the Great Fire of London in 1666 or in the Blitz or demolished by commercial developers as property prices soared.”

2. What is the aim of the Lost London Churches Project?
“The Lost London Churches Project aims to promote interest in the ancient church buildings and parishes of the City of London through collectable cards, books, maps and downloadable explorers walks. We have created a ecclesiastical treasure hunt – a way of exploring the history of the square mile that costs nothing and can be easily fitted into a few spare lunchtimes.”

3. How many churches are included in the project?
“There are 78 churches for which collectable cards have been produced and these are available in a growing number of churches in the City. It is hard to find evidence of what the churches lost in the fire of 1666 looked like, but hopefully after further research these will be included in a second edition. “

4. Does the project cover every “lost” church in the City of London?
“It covers not just ‘lost’ churches but also the extant ones for two reasons. First, because those who are collecting the cards need a place to pick them up which they can do in the churches that still exist. Secondly, although the church buildings were lost, the parishes still remain to this day for administrative reasons. Every one of the 109 churches still has a parish clerk. The parishes have been amalgamated with the existing churches. So, for example, St Vedast in Foster Lane is a church of 13 united parishes having acquired them as the church buildings were lost over the centuries.”

5. Tell us how the Lost London Churches Project came about?
“It all started when I was redrawing the Ogilby and Morgan map of 1676 in colour for my own pleasure. This large scale map (100 feet the inch) shows every single house in the City of 350 years ago. It was completed just after the Great Fire and so shows the location of all the lost churches clearly. The original covered 20 separate black and white sheets but I redrew them all joined together in colour on my computer. The end result was so huge it was impractical to print…So it made sense to break it up and publish in a book, and since the most interesting information in the map was the churches lost in the fire. it became the basis for the collectors book for the Lost London Churches project. At the same time, I was going through my late father’s papers and found a booklet of cigarette cards that he had collected in the 1940s. He also had a passion for painting watercolours of churches.  That’s when I had the idea of producing a series of ‘cigarette cards’ showing the lost churches and the project was born.”

6. What’s the role of the cards? 
“The role of the cards is to give some tangible treasure to collect while exploring the lost churches. Like trading cards or Pokemon the challenge is – can you collect them all? In every participating church you will be able to pick up that church’s card along with a pack of five random cards for a small voluntary donation. Cards are also available from the project’s website lostlcp.com.”

7. You mentioned earlier that there were a number of ways the City of London’s churches become lost?
“They were lost in three phases. Around 85 were destroyed or damaged in the Great Fire of 1666 of which 34 were never rebuilt. The others were rebuild by Christopher Wren, along with St Pauls Cathedral. Then 26 more churches were lost after the Union of Benefices Act of 1860 triggered a second wave of demolition. The purpose of the act was to combine parishes and free up space for the swelling capital of the British Empire. Lastly, the City suffered badly in the Blitz of World War II which took a further toll on these ancient buildings.”

8. How easy is it to spot remnants of the City’s lost churches?
“Though the buildings are lost, the parishes remain and you can still see the old parish boundary markers even on modern buildings. The best place to see an example of these is to walk down Cheapside along the New Change shopping centre towards the church of Mary le Bow. In only 100 or so yards you will have crossed the boundaries of five different parishes; St Vedast Foster Lane, St Matthew Friday Street, St Peter Westcheap, All Hallows Bread Street and St Mary Magdalene Milk Street. As you walk down the street look up above the shops ( see picture below) and you will see little plaques marking these parish boundaries. These type of parish boundary markers are scattered throughout the City. Our downloadable explorers walks on Google Maps available (for free) on our website lostlcp.com will show you some routes to find them. There is also a A4 sized map of the ancient parishes we have published for you to use as a guide.”

Parish markers on a building on Cheapside and, inset, in detail.

9. Have you uncovered any particularly interesting stories in your research into London’s lost churches?
“I think one the most interesting things is the unusual names and how they were derived: Benet Fink, Stephen Coleman, Mary Somerset, Martin Ludgate and Gabriel Fenchurch. Couldn’t these be the names in an Agatha Christie mystery where the key to the murder is church themed aliases? But seriously, every church has a rich history since most were established before 1200 so in visiting them you are trekking right back to medieval times.”

10. And lastly, do you have a favourite “lost” London church?
“My favourite is St Mary Abchurch just off Cannon Street. It is not only the headquarters of the ‘Friends of the City Churches’ charity but also a perfect jewel of a Wren church with the most glorious painted ceiling – like a secret Sistine chapel!”